IRT Program: Shakespeare's Will/Clue

Community Engagement That’s Built to Last

Building a better future together

The spirit of giving is strong at OneAmerica®. A community leader since our inception, we proudly support organizations, like the Indiana Repertory Theatre, that make a difference. OneAmerica is pleased to have further extended our support of the IRT. Our community commitment focuses on strategically investing in education; workforce development; community safety, wellness and success; and community vibrancy.

OUR MISSION & VISION

MISSION

Rooted in the heart of Indiana, Indiana Repertory Theatre is committed to building a vital, vibrant, and informed community through the transformational power of live theatre. The Indiana Repertory Theatre produces inclusive, top-quality, professional theatre and community programming to engage, surprise, challenge, and entertain members of the whole community.

VISION

The Indiana Repertory Theatre will welcome the whole community, becoming a place of belonging for an ever-expanding audience of all ages and backgrounds seeking meaningful and enjoyable experiences. Using theatre as a springboard for both personal reflection and community discussion, our productions and programs will inspire our neighbors to learn about themselves and others. As the largest nonprofit theatre in the state of Indiana, IRT’s goal is to help make Indiana a dynamic home of cultural expression, economic vitality, and a diverse and engaged citizenry.

AS AN INSTITUTION, WE VALUE...

SUSTAINING A PROFESSIONAL, RESPECTFUL, INCLUSIVE, & CREATIVE ATMOSPHERE

• Producing diverse plays, we strive to provide insight and celebrate human relationships through the unique vision of the playwright.

• Employing professional artists of the highest quality, we nurture an environment that allows them to grow and thrive on our stages and in our communities.

• We foster a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community

BUILDING INCLUSION, DIVERSITY, EQUITY, AND ACCESS (IDEA)

• Our community thrives when diverse voices and peoples gather to make, watch, and support theatre.

• It is our responsibility as a community resource to open our doors wide, welcoming all to our high-quality, relevant art.

• We acknowledge our history of privilege as a predominantly White institution as an initial and necessary step toward effectively supporting the dismantling of systems of oppression.

• To be an anti-racist organization we must seek knowledge and understanding to identify discriminatory practices and increase cultural awareness in collaboration with, and learning directly from, BIPOC, Lesbian, Gay, Bisexual, Transgender, Queer, Intersex (LGBTQI+), functionally diverse, and other historically excluded communities.

PRUDENT STEWARDSHIP OF OUR RESOURCES

• As a public-benefit organization, we focus on community service, artistic integrity, and creating a range of ticket prices that allow all segments of our community to attend.

• Fiscal responsibility and financial security fuel our institutional sustainability.

• To ensure institutional longevity, we continue to grow our endowment fund as a resource for future development.

Due to union agreements, photography, video, and audio recording are not permitted during the performance. The videotaping of productions is a violation of United States Copyright Law and an actionable Federal Offense.

ACKNOWLEDGING THE LAND

Every community owes its existence and vitality to generations from around the world who contributed their hopes, dreams, and energy to making the history that led to this moment. Some were brought here or removed from here against their will, some were drawn to leave their distant homes in hope of a better life, and some have lived on this land for more generations than can be counted. Acknowledgment of the land which the IRT now occupies is critical to building mutual respect and connection across all barriers of heritage.

We want to acknowledge that what we now call Indiana is on the ancestral lands of many indigenous peoples including the Miami, Piankashaw, Wea, Potawatomi, Kickapoo, Delaware, and Shawnee. We pay respects to their elders past and present. Please take a moment to consider the many legacies of displacement, migration, violence, and settlement that bring us together here today.

This land acknowledgment was created in collaboration with Scott Shoemaker, PhD (Miami Tribe of Oklahoma). Portions of this acknowledgment come from the U.S. Department of Arts and Culture (usdac.us).

ACKNOWLEDGING OUR BUILDING’S HISTORY

The historic Indiana Theatre was built in 1927, a time when the shameful practice of racial segregation was the standard in movie theatres and public buildings across the United States. The Indiana Theatre building was originally segregated and at some point in its history this practice ceased. Many Indiana residents and their families’ heritage stories recall being treated as less than equal citizens in this building, with some even being barred from entering. We cannot erase this history.

We honor and respect all those who have faced discrimination and harm in this building. We strive every day to make the IRT a place that welcomes all people.

The Indiana Repertory Theatre moved to its current site on Washington Street in 1980, renovating and reopening a building that had been shuttered for nearly a decade.

INDIANA REPERTORY THEATRE PROFILE

HISTORY

The Indiana Repertory Theatre was founded in 1972 by Ben Mordecai, Greg Poggi, and Ed Stern. Since then, it has grown into one of the leading regional theatres in the country, as well as one of the top-flight cultural institutions in the city and state. In 1991 Indiana’s General Assembly designated the IRT as “Theatre Laureate” of the state of Indiana. The IRT’s national reputation has been confirmed by prestigious grants from the National Endowment for the Arts, the Lila Wallace–Reader’s Digest Fund, the Theatre Communications Group–Pew Charitable Trusts, the Shubert Foundation, and the Kresge Foundation, and by a Joyce Award from the Joyce Foundation.

The IRT remains the largest fully professional resident not-for-profit theatre in the state, providing 100,000 live professional theatre experiences for its audience in a typical season. The Theatre regularly serves thousands of students from more than half of Indiana’s 92 counties, making the IRT one of the most youth-oriented professional theatres in the country. A staff of year-round employees creates seven productions exclusively for Indiana audiences. Actors, directors, and designers are members of professional stage unions.

The IRT’s history has been enacted in two historic downtown theatres. The Athenaeum Turners Building housed the company’s first eight seasons. Since 1980 the IRT has occupied the 1927 Indiana Theatre, which was renovated to contain three performance spaces (OneAmerica Stage, Upperstage, and Cabaret) and work spaces, reviving this historic downtown entertainment site.

To keep ticket prices and services affordable for the entire community, the IRT operates as a not-for-profit organization, deriving more than 50% of its operating income from contributions. The theatre is generously supported by foundations, corporations, and individuals, an investment which recognizes the IRT’s mission-based commitment to serving Central Indiana with top-quality theatrical fare

PROGRAMS

The OneAmerica Season includes six productions from classical to contemporary, including the INclusion Series.

Young Playwrights in Process The IRT offers Young Playwrights in Process (YPiP), a playwriting contest and workshop for Indiana middle and high school students.

Community Gathering Place Located in a beautiful historic landmark, the IRT offers a wide variety of unique and adaptable spaces for family, business, and community gatherings of all types. Please email Jacob Lang, House Manager, at jlang@irtlive.comor call 317.916.4872 for more information.

Opportunities The IRT depends on the generous donation of time and energy by volunteer ushers; please email Jacob Lang, House Manager, at jlang@irtlive.comor call 317.916.4872 to learn how you can become involved.

Meet the Artists Regularly scheduled pre-show chats and post-show discussions offer audiences unique insights into each production.

Student Matinees The IRT continues a long-time commitment to student audiences with live school-day student matinee performances of all IRT productions. These performances are augmented with educational activities and curriculum support materials.

Educational Programs Auxiliary services offered include visiting artists in the classroom, study guides, pre- and post-show discussions, and guided tours of the IRT’s facilities.

Classes From creative dramatics to audition workshops to Shakespeare seminars, the IRT offers a wide array of personal learning opportunities for all ages, including our Summer Youth Workshops. Call 317.916.4842 for further information.

INCLUSION, DIVERSITY, EQUITY, AND ACCESS (IDEA)

INDIANA REPERTORY THEATRE: WELCOMING THE WHOLE COMMUNITY

We strive to celebrate and serve the diverse people and cultures that make up our whole community. The IRT is committed to creating and maintaining an antiracist theatre that is inclusive, safe, respectful, and accessible.

Whether you have been coming for years or are here for the first time—welcome to your Theatre!

VALUES

• Our community thrives when diverse voices and peoples gather to make, watch, and support theatre.

• It is our responsibility as a community resource to open our doors wide, welcoming all to our high-quality, relevant art.

• We must acknowledge our history of privilege as a Predominantly White Institution in order to effectively support dismantling systems of oppression.

• In order to be an antiracist and inclusive organization we must seek knowledge and understanding to identify discriminatory practices and increase cultural awareness in collaboration with, and learning directly from, BIPOC, Lesbian, Gay, Bisexual, Transgender, Queer, Intersex (LGBTQI+), functionally diverse, and other historically excluded communities.

COMMITMENTS

• We will represent and engage the diverse people, cultures, and communities of central Indiana.

• We will employ more people of color, with a goal of 40% of all new hires being BIPOC, and foster an inclusive culture of artists, staff, board, and vendors.

• We will continue and deepen our Inclusion, Diversity, Equity, and Access (IDEA) training for all board and staff.

• We will be accessible to all audiences inviting those who have been unheard or unseen in the past, including functionally diverse people, BIPOC, LGBTQI+, and under-resourced communities.

If you would like to read more about our Inclusion, Diversity, Equity, and Access (IDEA) work, go to irtlive.com/about/idea.

LEADERSHIP: JANET ALLEN

Margot Lacy Eccles Artistic Director

Creating world-class professional theatre for Central Indiana audiences of all ages has remained a career-long passion for Janet Allen. After nearly 40 years of service, Janet will retire at the end of this, IRT’s 50th anniversary season, with gratitude for all the artists, audiences, administrators, and artisans who have delighted her over the years.

During Janet’s tenure, the IRT has significantly diversified its services to both adults and children, and solidified its reputation as a top-flight regional theatre dedicated to diverse programming and production quality. Janet’s passion for nurturing playwrights has led to a fruitful relationship with James Still, the IRT’s playwright-in-residence for 25 years, and the creation of the Indiana Series—plays that examine Hoosier and Midwestern place-making. Her work has brought the theatre prestigious grants from the Pew Charitable Trusts, the Joyce Foundation, and the Doris Duke Foundation, as well as numerous grants from the National Endowment for the Arts.

Among the memorable productions Janet has directed on the IRT’s stages are TheGlassMenagerie(1999), Ah!Wilderness (2002), TheDrawerBoy(2004), James Still’s TheHouseThat JackBuilt(2012 & 2021), ToKillaMockingbird(2016), Looking OverthePresident’sShoulder(2008 & 2017), TheDiaryofAnne Frank(2011 & 2018), and Cyrano(2021). This season she directed AChristmasCarol

MARGOT LACY ECCLES WAS A LEADING PHILANTHROPIC SUPPORTER OF THE ARTS AND HUMANITIES. THE INDIANA REPERTORY THEATRE CHERISHES ITS HISTORY WITH MRS. ECCLES AS A SUBSCRIBER, BOARD MEMBER, DONOR, AND CHAMPION OF OUR ORGANIZATION IN BOTH ITS EDUCATIONAL AND ARTISTIC LEADERSHIP. IN RECOGNITION OF MRS. ECCLES’S LEGACY AS BENEFACTOR AND ADVISOR, THE INDIANA REPERTORY THEATRE IS PROUD TO HAVE NAMED ITS ARTISTIC DIRECTOR POSITION THE MARGOT LACY ECCLES ARTISTIC DIRECTOR.

Janet’s leadership skills and community service have been recognized by the Network of Women in Business–IBJ’s “Influential Women in Business” Award, a Distinguished Hoosier Award conferred by Governor Frank O’Bannon, Girls Inc.’s Touchstone Award for Arts Leadership, and the Indiana Commission on Women’s Torchbearer Award. She is a proud alum of the Stanley K. Lacy Leadership Program (Class XIX) and a 2013-2014 Indy Arts Council Creative Renewal Arts Fellow. She is a member of two honorary gatherings in the America Theatre: the College of Fellows of the American Theatre, and the National Theatre Conference. In 2017 she was named an Indiana Living Legend by the Indiana Historical Society. In August 2022, she was honored with a May Wright Sewall Leadership Award by the Indianapolis Propylaeum.

Janet is a member of the Indianapolis Woman’s Club, the Gathering, and Congregation Beth-El Zedeck. She lives with her husband, Joel Grynheim, and a lovely canine mutt, in a downtown house built in 1855. They enjoy following the adventures of their three adult children and their grandchild, who are thriving on various continents.

DavidAlanAndersonandBrianAnthonyWilsonintheIRT’s2022productionof The Reclamation of Madison Hemings.PhotobyZachRosing.

LEADERSHIP: SUZANNE SWEENEY Managing Director

Suzanne is a 24-year veteran of the IRT and is proud to work alongside her mentor and friend, Janet Allen, as co-CEO of the Theatre. Suzanne oversees all of the administrative functions of the organization, including marketing, fundraising, ticket office, house management, finance, human resources, information technology, and building operations.

During her tenure, the Theatre has secured a long-term lease for the building with the City of Indianapolis and renovated the Upperstage Lobby and restrooms. In June 2020 the Theatre surpassed its $18.5 million goal for its Front and Center campaign, raising $20 million.

Suzanne was elected Treasurer of the League of Resident Theatres, a nationwide association of regional theatres, and she serves as a member of their board of directors. In 2021 and 2016, she was honored to serve as a panelist for Shakespeare in American Communities in cooperation with Arts Midwest.

Suzanne is active in the community, having been the treasurer of Irish Fest for nine years, a member of the board of directors and treasurer of the Day Nursery Association (now Early Learning Indiana) for three years, and a past treasurer of IndyFringe.

Suzanne is a graduate of the College of William & Mary (undergraduate) and Indiana University (M.B.A.). She started her career as a CPA; prior to coming to Indianapolis, she worked in finance for more than 10 years, living in such varied locales as Washington, DC; Dallas, Texas; Frankfurt, Germany; Honolulu, Hawaii; and even working for three months in Auckland, New Zealand (where, yes, she went bungee jumping). She is a proud alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in the Old Northside with her 19-year-old son, Jackson, and their foxhound rescue dog, Gertie, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek.

LEADERSHIP: JAMES STILL

Playwright-in-Residence

During his 25 years as playwright-in-residence, IRT audiences have seen all three plays in James’s “Jack Plays” trilogy (The HouseThatJackBuilt,Appoggiatura,and Miranda), as well as LookingOverthePresident’sShoulder;AndThenTheyCame forMe:RememberingtheWorldofAnneFrank;AmberWaves; TheLittleChoo-ChooThatThinksSheCan;April4,1968:Before WeForgotHowtoDream;ILovetoEat:CookingwithJames Beard;TheVelveteenRabbit;TheHeavensAreHunginBlack; InterpretingWilliam;IronKisses;TheGentlemanfromIndiana; SearchingforEden;HeHeldMeGrand,and TheSecretHistory oftheFuture.James has directed many productions at the IRT, including AChristmasCarol,TwelveAngryMen,ADoll’sHouse Part2,TheOriginalist,Dial“M”forMurder,TheMysteryofIrma Vep,Red,OtherDesertCities,GodofCarnage,Becky’sNewCar, RabbitHole,and Doubt. This season he directed Oedipus.

James is a member of the National Theatre Conference in New York, and a Kennedy Center inductee of the College of Fellows of the American Theatre. Other honors include the Eugene and Marilyn Glick Indiana Authors Award for drama for TheJack Plays, the Todd McNerney New Play Prize from the Spoleto Festival, the William Inge Festival’s Otis Guernsey New Voices Award, and the Orlin Corey Medallion from the Children’s Theatre Foundation of America. His plays have been nominated four times for the Pulitzer Prize, and have been developed at Robert Redford’s Sundance, the New Harmony Project, Eugene

O’Neill Playwrights Conference, Seven Devils Playwrights Conference, Colorado New Play Summit, the Lark, Launch Pad at UC–Santa Barbara, Telluride Playwright’s Festival, New Visions/New Voices, and Fresh Ink. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education. James’s work has been produced throughout the United States, Canada, China, Japan, Europe, South Africa, Australia, and New Zealand.

Current projects include his new plays TheCratchits (inAmerica),PlaysaboutLonging,(A)NewWorld,Dinosaur(s),JoyWavestoYoufromaDistance,and new plays commissioned by Prison Performing Arts (St. Louis) and American Blues (Chicago).

James also works in television and film and has been nominated for five Emmys and a Television Critics Association Award; he has twice been a finalist for the Humanitas Prize. He wrote the short film ACityofStoriescommissioned by the New Harmony Project and recently featured in the Heartland Film Festival’s Indy Shorts. James was a producer and head writer for the TLC series PAZ, the head writer for Maurice Sendak’s LittleBear, and writer for the Bill Cosby series LittleBill.He wrote TheLittleBearMovieand TheMiffy Movieas well as the feature film TheVelocityofGary. James grew up in Kansas and lives in Los Angeles.

IN 2017, SARAH & JOHN LECHLEITER CREATED THE JAMES STILL PLAYWRIGHT-IN-RESIDENCE FUND, PROVIDING SUPPORT FOR THE PLAYWRIGHT-IN-RESIDENCE AS WELL AS THE CREATION OF NEW WORK FOR THE IRT.

LEADERSHIP:

BENJAMIN HANNA Associate Artistic Director

Ben is a director, educator, and community engagement specialist whose passion for multigenerational theatre has influenced his work across the country. In all of his myriad roles, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities.

Ben is in his sixth season as the IRT’s Associate Artistic Director. In July 2023 he will become the Theatre’s new Margot Lacy Eccles Artistic Director. At the IRT he has directed Fahrenheit 451, TheBookClubPlay,Tuesdays withMorrie,ThisWonderfulLife,AChristmasCarol,The LittleChoo-ChooThatThinksSheCan,Elephant&Piggie’s “WeAreinaPlay!,” and TheTownMouseandtheCountry Mouse. This season he directs Clue. As associate artistic director, Ben manages casting both locally and nationally, helps guide education and community programming, and connects IRT to new artists and ideas. Dedicated to eradicating systems of oppression, he is an advocate for creating and maintaining an anti-racist culture that breaks down historical barriers of access to the theatre. Along with Sarah Bellamy, IRT’s Equity Consultant, he guides IRT’s work to develop thoughtful, sustainable Inclusion, Diversity, Equity, and Access initiatives.

Ben is the recipient of a Theatre Communications Group Leadership University Award funded by the Andrew W. Mellon Foundation. The award supported his artistic mentorship at the Children’s Theatre Company in Minneapolis, the nation’s largest theatre for young audiences. Prior to his role at CTC, Ben spent five years in California’s Bay Area, dividing his time between Berkeley Repertory Theatre and the Bay Area Children’s Theatre.

In his native Minnesota, Ben was honored to serve on the education staff of Penumbra Theatre Company, the nation’s leading African American theatre, where he helped to expand their education and outreach offerings. His proudest accomplishments during his four years with the company include growing the nationally recognized Summer Institute for Activist Artists into a three-year multidisciplinary social justice theatre training program, developing a multigenerational quilting circle, and helping to create and facilitate a racial equity training program through the company’s RACE workshop series.

Ben holds a degree in theatre arts from the University of Minnesota Twin Cities. He grew up on a small rural farm and fell in love with theatre at the age of eleven. He continues to create for his favorite audience: his five nieces and nephews.

AmirAbdullahandHenryWoroniczintheIRT’s2022productionof Fahrenheit 451 directedbyBenjaminHanna.PhotobyZachRosing.

INDIANA REPERTORY THEATRE STAFF

Eric Wilburn

Janet Allen

Margot Lacy Eccles Artistic Director

Suzanne Sweeney

Managing Director

Ariana Fisher

Office Administrator

Malia Argüello

Production Manager

Benjamin Hanna

Associate Artistic Director

Hillary Martin Company Manager

Richard J Roberts

Resident Dramaturg

Jane Robison General Manager

James Still Playwright-in-Residence

Erica Anderson Lead Draper

Emily Candelario-Rosa

First Hand

Guy Clark

Costume Director

Heather Hirvela Draper

Brittany Kugler Dresser

Niamh Langfitt

Costumer/First Hand

Rebecca Reyes

Wardrobe Supervisor

Brady Clark Development Systems

Eric J. Olson

Institutional Giving Manager

Kay Swank-Herzog

Individual Giving Manager

Kathryn Burke

Lead Electrician

Beth A. Nuzum

Master Electrician

Kevin Shannon

Electrician

Jeffrey Bledsoe Director of Finance

Jen Carpenter Payroll & Benefits Specialist

Karen Chapman Business Manager

Devon Ginn

Director of Inclusion & Community Partnerships

Kerry Barmann

Associate Director of Marketing

Geneva Denney-Moore

Design & Communications Specialist

Danielle M. Dove

Director of Marketing & Sales

Megan Ebbeskotte

Audience Development Manager

Noelani Langille

Graphic Designer

Claire Dana Charge Scenic Artist

Jim Schumacher

Scenic Artist

Jacki Walburn

Scenic Artist

Dameon Cooper

Building Manager

Housekeeping

Roger Cunningham

Tonika Miller

Carlton Foster

Jacob Lang

House Manager

Assistant Ticket Office Manager

Jay Hemphill

Customer Service Representative

Molly Wible Sweets

Tessitura Administrator

Madelaine Foster

Assistant Properties Shop Manager

Rachelle Martin

Properties Shop Manager

Carpenters

WonJun Brendon Choi

Samantha-Rae Oliver

Chris Fretts

Technical Director

Nick Kilgore

Automation Carpenter

Faith Seltzer

Stage Operations Supervisor

David Sherrill

Master Carpenter

Brittany Hayth

Lead Audio Engineer

Todd Mack Reischman

Resident Sound Designer

Kieran Shay

Audio Video Engineer

Stage Managers

Nathan Garrison

Erin Robson-Smith

Matt Shives

Assistant Stage Managers

Becky Roeber

Isaiah Moore

Production Assistants

Isabella Garza

Andrea Haskett

Corey Hollinger

Sam Stucky

Doug Sims

Anna E. Barnett

Education Coordinator

Courtney Plummer

Ticket Office Manager

Group Sales & Teleservices Manager

INDIANA REPERTORY THEATRE STAFF

Randolph Nicolai

Tara Parchman

Kirsten Povolny

Robin Reid

Paul Drew

Edith McDonnel

Crowe Horwath

External Auditors

Faegre Drinker

Legal Counsel

Assistant House Managers

Grace Branam

Stacy Brown

Preston Dildine

Dieter Finn

Christine Gordon

Marilyn Hatcher

Lexi Hudson

Sarah James

Marissa Klingler

Claire Martin

Alicia McClendon

Jeff Pigeon

Phoebe Rodgers

Kathy Sax

Karen Sipes

Sam Stucky

Katy Thompson

Bartender

Tina Weaver

Customer Service Representatives

Ashlee Lancaster

Chelsea Senibaldi

Cara Wilson

Lee Edmundson

Cereyna Jade Bougouneau in the IRT’s 2022 production of Sense & Sensibility

Photo by Zach Rosing.

Welcome to the Indiana Repertory Theatre’s 50th Anniversary Season!

From its first eight seasons at the historic Athenaeum through the last four decades in the beautiful Indiana Theatre, the IRT has been an important part of the cultural fabric of Indianapolis.

The last two years have been among the most challenging in our history, as they have been for everyone. We are very excited to welcome you in person for our 50-year celebration! Great theatre sparks conversations, thoughtful questions, and ideas that reflect on and enlighten our lives, workplaces, and communities. Whether you’ve been part of the IRT family for years or are a first-time visitor, we are glad you are with us.

I am very grateful for the hard work, dedication, and adaptability of our staff, continuing to bring theatre to our audience in these extraordinary times. We are blessed with amazing leadership and talent. I also want to give a special thank you to all our patrons and partners for their loyal and tireless support, ensuring the IRT’s future for generations to come.

On behalf of the Board of Directors, I thank you for joining us for this golden anniversary season—one which will inspire and entertain.

–MarkE.Shaffer, IRT Board Chair

BOARD OF DIRECTORS

OFFICERS

CHAIR

Mark Shaffer

KPMG LLP

VICE CHAIR & CHAIR ELECT

Andrew Michie

OneAmerica Financial Partners, Inc.

MEMBERS

Kathryn Beiser

Eli Lilly & Company

Michael P. Dinius

TREASURER

Joy Kleinmaier

American Specialty Health

SECRETARY

Jill Lacy

The Lacy Foundation

IMMEDIATE PAST CHAIR

Nadine Givens*

PNC Wealth Management

Noble Consulting Services, Inc.

Laurie Dippold

KAR Auction Services, Inc.

Dan Emerson*

Indianapolis Colts

Troy D. Farmer

FORVIS

Tom Froehle*

Faegre Drinker

Ashley Garry Viatris Inc.

Ron Gifford

RDG Strategies LLC

Ricardo L. Guimarães

Indiana University

Kelley School of Business

Julian Harrell

Faegre Drinker

BOARD EMERITUS

Robert Anker*

Rollin Dick

Berkley Duck*

Dale Duncan*

James W. Freeman

Mike Harrington

Eli Lilly & Company, Retired

Michael N. Heaton

Katz Sapper & Miller, Retired

Holt Hedrick

Calumet Specialty Products Partners, L.P.

Brenda Horn

Ice Miller LLP, Retired

Rebecca Hutton

Leadership Indianapolis

Lauren James

Mitch Daniels

Leadership Foundation

Elisha Modisett Kemp

Corteva Agriscience

Alan Mills

Barnes & Thornburg LLP

Michael Moriarty

Frost Brown Todd, Retired

Brian Payne

Central Indiana

Community Foundation

Tammara D. Porter

American Electric Power

Peter Racher

Plews Shadley

Racher & Braun LLP

Peter N. Reist

Oxford Financial Group, Ltd.

Susan O. Ringo

Community Volunteer

Myra C. Selby

Ice Miller LLP

Darshan Shah

BioCrossroads

Shelly Smith

Ernst & Young LLP

Sue Smith

Community Volunteer

Amy Waggoner Salesforce

L. Alan Whaley

Ice Miller LLP, Retired

Michael Lee Gradison* (in memoriam)

Margie Herald (in memoriam)

David Klapper

David Kleiman*

Sarah Lechleiter

E. Kirk McKinney Jr. (in memoriam)

Richard O. Morris* (in memoriam)

Jane Schlegel*

Wayne Schmidt

Jerry Semler*

Jack Shaw*

William E. Smith III*

Eugene R. Tempel*

David Whitman*

“We made sure to establish a planned gift for the IRT, because we want our grandkids and future generations to experience the same love of world-class theatre we have.” Gene & Mary Tempel, long time IRT supporters

Legacy giving is a simple and impactful way to ensure the live professional theatre you cherish lives on.

Giving a legacy gift to the IRT will give you benefits you can enjoy now, as well as make a lasting impact on the IRT and the community it serves.

Experiencing a world class, professional, IRT production at a young age inspires creative thinking, teaches important social skills about emotional cognition, and increases tolerance for others.

Your gift to the Alan & Linda Cohen Education Fund will provide students experiences that embolden, empower, and enrich their education and growth.

RonE.Rains,PriscillaLindsay,andHelenJooLeeintheIRT’s2022productionof Sense & Sensibility.

PhotobyZachRosing,

Share your review on social media by tagging us at @IRTLIVE, using #IRTLIVE or by emailing REVIEWS@IRTLIVE.COM

Shakespeare’s Will

by Vern Thiessen

UPPERSTAGE

MARCH 15 – APRIL 16

Director______________________ BRENDA DeVITA

Scenic Designer_________________________ SCOTT PENNER

Costume Designer_________________ DANIELE TYLER MATHEWS

Lighting Designer________________________ DAWN CHIANG

Composer & Sound Designer________________ SARTJE PICKETT

Dramaturg_________________________ RICHARD J ROBERTS

Stage Manager________________________ ERIN JOY SWANK

SCENIC DESIGNER: Scott Penner

LIGHTING DESIGNER: Dawn Chiang

SEASON 2022-2023

Anne______________ TRACY MICHELLE ARNOLD

Anne’s room, her imagination, her memory, her dreams, and the sea.

APPROXIMATE RUN TIME: 90 minutes, with no intermission.

Shakespeare’s Will is produced by special arrangement with Mark Orsini, Bret Adams, Ltd., 448 West 44th Street, New York, NY 10036. bretadamsltd.net

Shakespeare’s Will was commissioned by the Free Will Players and premiered on February 3, 2005, at the Citadel Theatre, Edmonton, Alberta, Canada.

Movement: Mariel Greenlee

Wigs: Becky Scott

Understudy: Lauren Dietcsh

Actors and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. Scenic, costume, lighting, and sound designers are represented by United Scenic Artists Local 829, IATSE.

Photography and recording are forbidden in the Theatre. The videotaping of this production is a violation of United States Copyright Law and an actionable Federal Offense.

JANET ALLEN Margot Lacy Eccles Artistic Director

SUZANNE SWEENEY Managing Director

OriginalartworkbyKyleRagsdale

I, along with millions of other Shakespeare addicts, ran to purchase Maggie O’Farrell’s Hamnet: A Novel of the Plague when it was first published in March 2020. We were seeking to experience and explore this remarkable fiction writer’s take on Shakespeare’s life, and in particular her chronicle of the death of his son Hamnet at age 11 in the plague of 1596. Of course, we didn’t know yet that another plague was headed our way, making O’Farrell’s powerful piece of historical fiction eerily prescient.

I read it hungrily in the spring of 2020 as, locked in our homes, we wondered what the future would bring. I experienced in all too similar a way the world that Shakespeare’s wife Anne Hathaway (called Agnes in the novel) experienced in Stratford-upon-Avon in that plague year. She is mono-focused on preserving the health of her three children; her husband, trapped by the plague in London, is an unhelpful and distant, if potent, presence. Anne loses her battle to save their children: their only son, Hamnet, dies. (Is this departed son the inspiration for Shakespeare’s later masterwork Hamlet? We’ll never really know.) I suspect that anyone with children, and perhaps many without, were struck deeply by this book in our first plague year, before the vaccines, when survival was a daily cause of fear. For those of us with an affinity to anything Shakespearean, this book has become a very visceral, memorable, telling of Shakespeare’s relationship to his family, and particularly, an unforgettable portrait of his wife.

This novel, which went on to win numerous prizes for its monumental brilliance, brought back to me the many other attempts that writers have made to capture something of Anne Hathaway’s shadowy presence behind the celebrated figure of her husband. Among those writings was this play, Shakespeare’s Will, which I have long admired. I felt that we, as art makers and audiences, were in a unique time to deeply appreciate Anne’s story, as we emerge, or try to emerge, from this worldwide pandemic, knowing more than we had hoped

to of loss and grief. The play is also an examination of how history often minimizes the lives of women, stuck in the daily toil of housemaking, child rearing, and husband obeisance. And of course it also addresses the age-old questions in the Shakespeare story itself: How did a young man come to marry a woman eight years his senior, only to leave her for most of his adult life to care for their three children alone while he pursued an apparently absurd life as an actor and playwright?

We have the great good fortune to have snared the talents of two remarkable women to make this creative journey in IRT’s 50th anniversary season: actor Tracy Michelle Arnold, who luminously played Nora in our production of A Doll’s House Part 2 a number of years ago, returns to play Anne Hathaway. Tracy took on this role eleven years ago at her home theatre, American Players Theatre in Spring Green, Wisconsin, and returns to it now with the new insights that age and experience bring. Directing her is Brenda DeVita, artistic director at American Players Theatre, who directed Tracy in that earlier production. Brenda’s time with us is a gift. As a hard-working artistic director, it’s difficult for her to be away from her many day-to-day obligations; but I couldn’t be more delighted to have her spend some time here in my final season, making a piece of art that is dear to her heart. And you should all put APT on your theatre-going radar: they make absolutely astonishingly great work deep in the woods of Wisconsin, one of my favorite summer destinations.

There is no doubt that this play lifts the role of women in history and attempts to fill in the blanks that history traditionally leaves around the famous men who have made the “his” in “history” have meaning. But the fact that it does it with great artistry and remarkable depth is what makes it worthy theatre. I hope you will come away moved and inspired.

“She grows up with a hidden, private flame inside her: it licks at her, warms her, warns her. You need to get away, the flame tells her. You must.”

—Hamnet, A Novel of the Plague by Maggie O’Farrell

There are nine known facts about Anne Hathaway. Just nine. So researching this woman was fascinating because all I knew about her was her name. I found out pretty quickly why that was: there’s nothing out there about Anne Hathaway. It’s all about William Shakespeare.

Of course, history is built on the facts we can piece together, plus a lot of supposition to be shaped into something that sounds like truth. In Anne’s case, she is often maligned by historians (who were mostly men, writing about men, for men). So her “truth” became that she was an older woman who trapped this young, intelligent, special boy by getting pregnant and marrying him. (Because everyone wants to marry a poor playwright with no prospects, right?)

Remember … Shakespeare wasn’t SHAKESPEARE when she met him.

Shakespeare’s Will weaves those nine facts into a fully realized Anne Hathaway. A beautiful, poetic story about a brave woman in honest contemplation of her life’s choices. Anne owns the choices she’s made. Not proud of every choice but, more importantly, proud of the way she has handled them: the good ones and the bad.

One reason we tell stories, I believe, is that we long for inspiration from those who get through this thing called life with a modicum of grace. Anne is graceful. Not with a perfected, calm, angel-like grace, but an honest, steely, truthful kind of grace. A grace that most of us can understand—can aspire to.

I flatter myself to find myself in her. That is what good art does for us. I do see the parallels: independent, mother, wife of an artist … minus the grace, at times, I fear. And the play speaks to me on that very personal level. Challenges me—challenges us—to determinedly scour our lives, our choices, our actions with fierce honesty … and accept ourselves.

Tracy Michelle Arnold in Shakespeare’s Will, directed by Brenda DeVita, at American Players Theatre, 2012.

No Book has yet been written in praise of a woman who let her husband & children Starve or Suffer while she Invented even the most useful things, or wrote books, or expressed herself in art, or evolved philosophic systems.

—Anna Garlin Spencer (1851-1913) educator, feminist, & minister

Love rests on no foundation. It is an endless ocean, with no beginning or end. Imagine, a suspended ocean, riding on a cushion of ancient secrets. All souls have drowned in it, and now dwell there. One drop of that ocean is hope, and the rest is fear.

— Mowlana Jalaluddin Rumi (1207-1273) poet, legal scholar, theologian, & mystic

I believe that what woman resents is not so much giving herself in pieces as giving herself purposelessly.

— Anne Morrow Lindbergh (1906-2001) author & aviator

Anne Hathaway was born in 1556, the eldest of eight children. Her father was a Protestant yeoman sheep farmer in the village of Shottery, about a mile east of Statfordupon-Avon. Her mother, whose name is unknown, died some time during Anne’s youth. Anne married William Shakespeare in November 1582 when she was 26 and he was 18. They lived with his parents in Stratford.

Six months after their wedding, Anne and William’s daughter Susanna was born. Twins Judith and Hamnet were born in 1585. Some time in the late 1580s, Shakespeare left Stratford to become an actor and playwright in London. For the next 25 to 30 years he regularly sent money home to

Anne. In 1597 he bought New Place, the biggest house in Stratford, for the family to live in. But he himself only occasionally returned to Stratford for brief visits.

Anne and William’s son Hamnet died at the age of 11 of unknown causes. Susanna married a doctor, John Hall, in 1607. Judith married Thomas Quiney, a vintner, in February 1616, just two months before her father died.

Shakespeare died in Stratford in 1616. Anne died in 1623, at age 67. She was buried beside her husband in Holy Trinity Church in Stratford.

Thisdrawing,presumedtohavebeentracedfromalostpainting,isthoughtbysometobeaportraitofAnneHathaway.

William Shakespeare was born in 1564. His father was a glove maker who became High Bailiff of Stratford-upon-Avon, a position similar to our mayor, but soon after fell on hard times. His mother, Mary Arden, was from a wealthy local Catholic family.

Shakespeare is assumed to have attended Stratford’s highly regarded grammar school.

He did not attend university, probably due to his father’s poor finances; he is thought by some historians to have worked as a tutor. At some point in the late 1580s, he left his wife and children in Stratford to become an actor and playwright in London. There he wrote 38 plays, several

narrative poems, and more than 150 sonnets, becoming the most popular playwright in London’s highly competitive theatrical world.

Shakespeare’s sonnets are often cited as evidence of his bisexuality. Most of them—126—are love poems addressed to a young man known as the “Fair Lord” or “Fair Youth,” often assumed to be the same person as the “Mr W. H.” to whom the sonnets are dedicated. Another 26 are addressed to a “Dark Lady.”

Shakespeare died in 1616 and was buried in Stratford. A collected edition of his plays was published in 1623, preserving his work for posterity.

THE COMPANY

TRACY MICHELLE ARNOLD | ANNE

Tracy made her IRT debut in A Doll’s House Part 2. This summer will mark her 24th season at American Players Theatre, where she is a member of the Core Acting Company. Roles at APT include Kate in The Taming of the Shrew, Cleopatra in Antony and Cleopatra, Jacques in As You Like It, Lady M in Macbeth, Olivia in Twelfth Night, Judith Bliss in Hay Fever, Beatrice in Much Ado about Nothing, Hesione Hushabye in Heartbreak House, and Blanche DuBois in A Streetcar Named Desire. Other regional credits include Brooke in Other Desert Cities at the Goodman Theatre, Regina in The Little Foxes at Asolo Repertory Theatre, and Amanda in Private Lives at Chicago Shakespeare Theatre. “Love to my fellas.”

VERN THIESSEN | PLAYWRIGHT

Vern Thiessen is one of Canada’s most-produced playwrights. His plays have been seen across Canada, the United States, Asia, the United Kingdom, the Middle East, and Europe. His best known works include EinsteinsGift,Lenin’sEmbalmers, and A More Perfect Union (all produced OffBroadway) as well as Shakespeare’sWill,Apple,Blowfish,TheCourier,TheResurrectionofJohn Frum, and Vimy. In 2003, he won the Governor General’s Literary Award, Canada’s highest honor for playwriting. He has also been shortlisted for the prestigious Siminovitch Prize in Theatre and the Herman Voaden Competition. He is a past president of the Playwrights Guild of Canada. He shares his life with acclaimed fiction writer Susie Moloney and their two sons.

BRENDA DeVITA | DIRECTOR

Brenda currently serves as the Artistic Director at American Players Theatre in Spring Green, Wisconsin. She has made APT her home since she joined the company in 1995. After serving in multiple capacities across the organization, she was appointed Artistic Director in 2014. Brenda’s favorite directing credits (many with her dear friend and colleague Tracy Michelle Arnold) include: Love’s Labor’s Lost, Shakespeare’s Will, Les Liaisons Dangereuses, The Year of Magical Thinking, Mary’s Wedding, The Other Place, A Doll’s House Part 2, and Born Yesterday. “I am honored to be here with Tracy to be a part of my friend and mentor Janet Allen’s final season. Congratulations, Janet, you are an inspiration.”

Thiessen

SCOTT PENNER | SCENIC DESIGNER

Scott is a Brooklyn-based designer whose work has been seen at the Prague Quadrennial, Off-Broadway, Northlight Theatre, the Stratford Shakespeare Festival, Theatreworks (Colorado Springs), Northlight Theatre, About Face Theatre, Shattered Globe Theatre (Chicago), the Grand Theatre (London, Ontario), the Sudbury Theatre Centre, the Globe Theatre (Regina, Saskatchewan), Buddies in Bad Times (Toronto), and the Winnipeg Studio Theatre. Upcoming: The Merry Wives of Windsor (American Players Theatre), Charlie and the Chocolate Factory (Grand, London). Film and TV: Assistant Costume Designer for Station Eleven (HBO Max) and Five Days at Memorial (Apple TV). Scott has an M.F.A. from Northwestern University and is a member of the Associated Designers of Canada. scottpennerdesign.ca

DANIELE TYLER MATHEWS | COSTUME DESIGNER

Daniele is a New York City–based costume designer and drag artist originally from Nashville, Tennessee. Design credits include Hamlet, Oedipus, Julius Caesar, Macbeth, Engaging Shaw, Pericles, and Mary’s Wedding (American Players Theatre); Hedda Gabler, The Winter’s Tale (Bedlam); I Am My Own Wife (Long Warf Theatre); Trans Scripts: the Women Part I (American Repertory Theatre); NYU’s New Musical Workshops (2017-2019); The Wild Party, TheWiz,L’étoile,Arcadia,KingLear,Fences, and the NYC Trans Theatre Festival. Princess Grace Foundation Theatre Award (2014). M.F.A. in Costume Design, Carnegie Mellon (2015). Upcoming designs: Nine (NYU), Angels in America Parts 1 & 2 (Central Square), Romeo and Juliet (APT). Daniele also designs and creates custom clothes, including all of their own drag looks, which can be seen on Instagram or TikTok @gloria_swansong.

DAWN CHIANG | LIGHTING DESIGNER

Dawn made her IRT debut with Sense and Sensibility. On Broadway she designed Zoot Suit and co-designed TangoPasión. Off Broadway: Manhattan Theatre Club, Roundabout Theatre: Encores! Concert Musicals, co-designer. Opera: resident lighting designer, New York City Opera. Regional: Guthrie Theater, Mark Taper Forum, Oregon Shakespeare Festival, South Coast Repertory, Syracuse Stage, Denver Center Theatre Company, Trinity Repertory Company, and many more. Awards: two Syracuse Area Live Theatre Awards, two Drama-Logue Awards.

Nominations: Maharam Design Award (from American Theatre Wing), Los Angeles Drama Critics Circle Award, San Francisco Bay Area Theatre Critics Circle. Affiliations: Board of Directors for Theatre Communications Group, Themed Entertainment Association, and Behind the Scenes Foundation. Mentor for Theater Development Fund’s “Wendy Wasserstein Project” outreach program for New York City high school students.

THE COMPANY

SARTJE PICKETT | COMPOSER & SOUND DESIGNER

Sartje works as a composer, sound designer, and performer for theatre, film, and interactive storytelling. Some credits include Love’s Labours Lost, Cyrano, Mary’s Wedding, Les Liaisons Dangereuses at American Players Theater; Twelfth Night, The Great Leap at the Guthrie; Hamlet, Death of a Salesman at Yale Repertory Theater; Much Ado about Nothing, Richard III at Oregon Shakespeare Festival; DODO, Welcome to Here at Bricolage Production Company; The Names Project, Chatterton, Far Away at Quantum Theatre. Sartje is a founding member of the sound design collective District 5 Sound, specializing in sound design for immersive and interactive storytelling environments. Performance has been a lifelong passion, and Sartje continues to incorporate live elements in her design and composition work.

RICHARD J ROBERTS | DRAMATURG

This is Richard’s 33rd season with the IRT, and his 25th as resident dramaturg. He has also been a dramaturg for the New Harmony Project, Write Now, and the Hotchner Playwriting Festival. He has directed IRT productions of A Christmas Carol (four times), Bridge&Tunnel,TheNight Watcher,Neat,PrettyFire,TheCay,TheGiver,ThePowerofOne, and TwelfthNight. Other directing credits include Actors Theatre of Indiana (where he recently directed Violet), the Phoenix Theatre, Indianapolis Chamber Orchestra, Edyvean Repertory Theatre, Indianapolis Civic Theatre, Butler University, University of Indianapolis, Marion University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University and has been awarded a Creative Renewal Arts Fellowship from the Indianapolis Arts Council.

ERIN JOY SWANK | STAGE MANAGER

Erin makes her IRT debut with this production and is excited to be back in the Midwest near family. She enjoys working in a variety of genres; recent credits include Florentine Opera, Pennsylvania Shakespeare Festival, Baltimore Center Stage, Cirque Dreams Holidaze, Actors Theatre of Louisville, Tuacahn Center for the Arts, and The Nutcracker in Las Vegas. Five Christmases of yore were spent touring the Radio City Christmas Spectacular, featuring the Rockettes and three adorable camels. Erin recently became a published author, collaborating on Off Headset: Essays on Stage Management Work, Life, and Career (Routledge); she writes a popular blog geeking out about stage management. During the summer months, she splits her time between theatre and paddling any river possible. erinjoyswank.com

Through its community outreach efforts, the Navient Community Fund supports organizations and programs that address the root causes which limit financial success for all Americans. The Navient Community Fund is proud to support the Indiana Repertory Theatre as the Education Partner for the 2022-2023 Season.

Navient is a leading provider of asset management and business processing solutions to education, healthcare, and government clients at the federal, state, and local levels. Millions of Americans rely on financial support to further their education and improve their lives. We work hard each day to help our customers navigate financial challenges and achieve their goals.

We at Navient have a deep appreciation for the arts and for the hard work, passion, and emotion that go into them, as well as the positive influences the arts have on individuals and their communities. Our employees in central Indiana are proud to support our community through amazing programs like those offered by IRT.

Enjoy the show.

IRT—the 2010S 2020S

Education had always been a cornerstone of the Indiana Repertory Theatre and long focused primarily on adults and on students in middle school and high school. That changed in 2014, when the Theatre launched the Exploring Stages project, designed to reach children ages three to eight. Children and their accompanying adults were invited to settle onto the floor of the Cabaret space, where lively presentations encouraged audience participation.

As its contribution to the Indiana Bicentennial celebration in 2016, the Theatre presented Finding Home: Indiana at 200, an anthology of scenes, monologues, poems, and songs written by thirty different Hoosier authors, woven together with original music. It was conceived as a single play, but with a wealth of material, FindingHome evolved into two different productions, christened Gold and Blue for the colors in the state flag. This one-of-akind production then received additional viewing with the collaboration of public television station WFYI, which both broadcast the production and memorialized it in DVD form, allowing the Theatre to place a copy in every public library in the state.

The 2017 production of The Curious Incident of the Dog in the Nighttimewas notable for the casting of an actor on the autism spectrum, Mickey Rowe, to portray the main character, who is on the spectrum. Rowe and IRT received national media coverage for his work and for the casting decision, which illustrated the Theatre’s ongoing commitment to inclusion.

Kim Staunton in Finding Home, 2016.

Carlos Medina Maldonado & Devan Mathias in Elephant & Piggie’s “We Are in a Play,” 2019.

MickeyRowein The Curious Incident of the Dog in the Nighttime,2017.

EXCERPTS FROM FIVE DECADES OF WONDER: INDIANA REPERTORY THEATRE

BY DONNA L. REYNOLDS

The 2019-2020 season brought the INclusion Series: Celebrating Diverse Storytelling. Three plays, each written by a person of color, each relating the experience of a different community, gave voice to untold stories. “Our intention with the INclusion series was to welcome new audiences to the theatre, whose stories have not appeared on stages, which is part of the joy of theatre-making,” Janet Allen said.

When it became clear that COVID-19 would prohibit in-person performances during the 2020-2021 season, six plays were chosen, designed, and cast to be streamed for virtual viewing only. The WFYI film team was engaged in the effort. All the while, Managing Director Suzanne Sweeney said, “We kept in mind that our first goal was to produce theatre.” With the help of funding from government agencies at the federal, state, and local levels; loyal supporters, both corporate and individual; and committed staff, IRT weathered the year-and-a-half shutdown. Over two COVIDimpacted seasons, 84 percent of season ticket holders faithfully renewed their subscriptions; 85 percent of Repertory Society households (donating $1,500 or more annually) renewed their gifts.

February 2023: After an extensive nationwide search, the Indiana Repertory Theatre announced the Theatre’s future Margot Lacy Eccles Artistic Director, Benjamin Hanna. Hanna is the current Associate Artistic Director; he officially steps into his new role after Janet Allen’s retirement on July 1, 2023. “I am deeply honored to serve as IRT’s next artistic leader,” said Hanna. “In our next chapter, I envision a theatre that is nationally celebrated, revered for producing challenging new works of the highest caliber, and is known as a leader in modeling equity and inclusion. I aspire to break down historic barriers to the Theatre and welcome new audiences by building communityresponsive programming. I am committed to using theatre’s transformative power to strengthen our cultural community, build spaces of belonging for historically marginalized voices, and to serve as a vital catalyst for conversation, education, empathy-building, and civic engagement.”

Ryan Artzberger, Melisa Pereyra, and Jeb Burris in the IRT’s 2021 streaming production of Cyrano.

DeLana Studi in And So We Walked, the first production in the IRT’s Inclusion Series.

Benjamin Hanna

Take a Bow

Faegre Drinker is proud to support the actors and staff who bring the Indiana Repertory Theatre to life. We are thrilled to be celebrating their 50th season of theatre and wish them success in their upcoming programming.

The 57th Indianapolis Early Music Festival

June 23 through July 23 at the Indiana History Center

All concerts live and in person AND livestreamed!

Friday, June 23 at 7:30PM Peabody Consort “A Musicall Banquet”

Sunday, June 25 at 2:30PM Musica Spira “An Extraordinary Innovation”

Friday, July 7 at 7:30PM Flûte Alors! “Kaleidoscope”

Sunday, July 9 at 2:30PM Michael Walker and Alchymy Viols “Deep River”

Friday, July 21 at 7:30PM Les Canards Chantants “Sex, Drugs, and Madrigals”

Sunday, July 23 at 2:30PM Matthias Maute “Vivaldi’s Four Nations”

www.IEMusic.org

317-537-2458

Clue

Share your review on social media by tagging us at @IRTLIVE, using #IRTLIVE or by emailing REVIEWS@IRTLIVE.COM

SCENIC DESIGNER: Czerton Lim

LIGHTING DESIGNER: Jared Gooding

ONEAMERICA MAINSTAGE

APRIL 19 – MAY 20

Director_____________________ BENJAMIN HANNA

Scenic Designer__________________________ CZERTON LIM

Costume Designer_________________________ IZUMI INABA

Lighting Designer_______________________ JARED GOODING

Sound Designer___________________ TODD MACK REISCHMAN

Fight Director_______________________ LERALDO ANZALDUA

Dramaturg_________________________ RICHARD J ROBERTS

Stage Manager______________________ NATHAN GARRISON

Assistant Stage Manager___________________ BECKY ROEBER

Casting____________________________ CLAIRE SIMON CSA

SEASON 2022-2023

based on the screenplay by Jonathan Lynn written by Sandy Rustin additional material by Hunter Foster & Eric Price based on the Paramount Pictures motion picture based on the Hasbro board game Clue original music by Michael Holland

Jonathan Lynn

based on the screenplay by written by additional material by Sandy Rustin Hunter Foster & Eric Price

Wadsworth_________________ JOHN TAYLOR PHILIPS*

Yvette____________________ ANDREA SAN MIGUEL*

Cook_________________________ DEVAN MATHIAS

Colonel Mustard________________ HENRY WORONICZ*

Mrs. White______________________ EMJOY GAVINO*

Mrs. Peacock____________________ CLAIRE WILCHER*

Mr. Green_________________________ ERIC SHARP*

Professor Plum_________________ BEETHOVAN ODEN*

Miss Scarlet_____________________ EMILY BERMAN*

Mr. Boddy ____________________ RYAN ARTZBERGER*

Motorist_____________________ RYAN ARTZBERGER*

Unexpected Cop_______________ KERRINGTON SHORTER

Telegram_______________________ DEVAN MATHIAS

Chief of Police _________________ RYAN ARTZBERGER*

Backup Cops_____________________ DEVAN MATHIAS KERRINGTON SHORTER

Boddy Manor, located not too far from Washington, D.C. a dark and stormy night in 1954.

APPROXIMATE RUN TIME: 2 hours with an intermission.

Clue is presented by special arrangement with the Araca Group, Work Light Productions, & Michael Barra/Lively McCabe Entertainment.

Movement/Fight Director: Leraldo Anzaldua

Movement and Intimacy Choreography: Samantha Kaufman

Wigs: Becky Scott

Scenic Design Assistant: Donnie Woodard

Understudies: Ben Asaykwee – Male Swing; Ryan Artzberger as Wadsworth

*Actors and stage managers in this production who are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. Scenic, costume, lighting, sound, and projection designers in LORT Theatres are represented by United Scenic Artists Local 829, IATSE.

Photography and recording are forbidden in the theatre. The videotaping of this production is a violation of United States Copyright Law and an actionable Federal Offense.

JANET ALLEN

Margot Lacy Eccles Artistic Director

SUZANNE SWEENEY Managing Director

OriginalartworkbyTashaBeckwith

This 50th anniversary season has packed some diversity in all realms—genre, era, style, message. You’ve certainly been on a journey if you’ve seen them all: from 19th century Britain (SenseandSensibility) and New York (The Chinese Lady) to pioneer Kansas (Flyin’ West) to ancient Greece (Oedipus) to 17th century Stratford (Shakespeare’s Will) and now to 1950s Washington in Clue—not to mention Dickension London (A Christmas Carol). Theatre can bring us such wide-ranging imaginative travel, as well as up-close-and-personal empathy, all from the comfort of our theatre seats.

Our choice on how to close this 50th anniversary season was predicated on two things: First, we wanted to gather the maximum number of patrons—our loyal patrons as well as many new ones—to a production that would celebrate the theatre experience itself, and comedy is often a great way to do that. And second, we wanted to feature the amazing skills of our artists and artisans, and there’s no better way to do that than producing a farce. It requires virtuosic invention from all our theatre makers: big, risky acting choices, superbly timed directing, and high functioning and hilarious design.

Plus, comedy is good for you! So we are purposefully serving you a healthful tonic of communal laughter:

It’s true: laughter is strong medicine. It draws people together in ways that trigger healthy physical and emotional changes in the body. Laughter strengthens the immune system, boosts mood, diminishes pain, and protects us from the damaging effects of stress. Nothing works faster or more dependably to bring mind and body back into balance than a good laugh. Humor lightens your burdens, inspires hope, connects us to others, and keeps us grounded, focused and alert. It also helps us release anger and forgive sooner.

As children, we used to laugh hundreds of times a day, but as adults, life tends to be more serious and laughter more infrequent. But by seeking out more opportunities for humor and laughter, you can improve your relationships, find greater happiness— and even add years to your life.

—Mental Health and Wellness Guide, Help Guide.org

We all know laughter to be important; but for the past three years, it’s been difficult for many of us to act upon that knowledge regularly. And while laughter alone while reading or watching a screen is useful, there is no substitute for laughing in community: the community of a theatre auditorium. I know we at the IRT need that laughter and healing, and we know that many others do too. So we are delighted to welcome your healthful laughter as we close our season!

This production is also an opportunity for us to celebrate our new Margo Lacy Eccles Artistic Director, Benjamin Hanna, who directs this production. Ben will begin July 1 as the IRT’s fifth artistic director, after being selected in a national search process by our board of directors. This production is an opportunity to celebrate his promotion and his promise, and I know you will all have many wonderful artistic experiences under his leadership for years to come!

As IRT heads into its second 50 years, we want to thank you who have been coming over the years, as well as those who are sitting in the theatre for the first time, for your support of live theatre made in Indiana. Here’s to many more decades of thriving arts in Indiana!

Clue is truly a multigenerational phenomenon. Many have fond memories of playing the game as a child, while others were introduced to Boddy Manor and its oddball cast of suspects through the iconic film. No matter how you first came to investigate the whodunit, it has become a part of our culture.

Our obsession with the genre continues as we are currently awaiting a remake of this quirky mystery with a starstudded cast. A recent flood of films has appeared that also celebrate the genre: The Menu, Knives Out, and Glass Onion are just a few delightful spins. Arthur Conan Doyle would be thrilled to know that Holmes and Watson’s skills continue to inspire.

We love the drama of the mystery: the intrigue, the backstabbing, the subtle clues that require a keen eye. They challenge our deductive reasoning skills—and sometimes biases—to get to the truth. They reward those who can piece together the puzzle first. Who doesn’t love

to be the first to exclaim, “It was Mrs. Peacock, in the Study, with the Revolver!”

The stage version of Clue is a delightful mashup of genres and styles. It combines our love of crime novels, mystery, farce, and gaming, all while celebrating some favorite pop-culture characters. This adaptation is a blend of iconic film moments and the board game, creating a beautiful playground for our magnificent cast to contribute their own comedic genius.

We end our 50th season with this theatrical blockbuster showcasing the excellence of our artisans and staff. Designers Czerton Lim, Izumi Inaba, Jared Gooding, and Todd Mack Reishman have worked joyfully with our exceptional production teams to craft a world full of surprise. As we gather in the dark to laugh together, we honor the many artists that make live theatre a powerful, transformational art form. Here’s to 50 more years of excellence!

During the 1920s and 30s, British musician Anthony Pratt frequently played piano for country house weekends, where the wealthy wined, dined, danced, and played party games. This was the Golden Age of Detective Fiction: Agatha Christie, G. K. Chesterton, Dorothy L. Sayers, and all the rest. In later years Pratt described one of the most popular country house activities as “a stupid game called Murder, where guests crept up on each other in corridors and the victim would shriek and fall on the floor.” What better setting than, as Clue playwright Sandy Rustin describes, “a mansion of epic proportions and terrifying secrets.”

During World War II, Pratt worked in a Birmingham munitions factory. At night, while holed up at home for long air raid blackouts, he developed a murder board game as a cure for boredom. His wife Elva designed the board on their dining room table. Pratt was an avid reader of murder mysteries. “He was fascinated by the criminal mind,” says his daughter, Marcie Davies. “When I was little he was forever pointing out sites of famous murders to me.”

In 1944 Pratt patented his game as Murder! In 1947 he sold it to Waddington’s, a British game manufacturer. But because of post-war shortages, the game was not released until 1949—as Cluedo in England (a play on ludo, the Latin word

for play) and Clue in the United States Parker Brothers version. Pratt’s original game featured ten characters and ten weapons, including a bomb, a shillelagh, and a syringe. The published version simplified the options to six each. In the original boxed set, the rope was an actual piece of string, and the lead pipe was a small tube of (poisonous) lead.

Over the years, characters have been updated. In 2008, Colonel Mustard became Jack Mustard the soccer star, and Professor Plum became Victor Plum, billionaire video game designer. The mansion got a spa and a home theatre. In 2016, Mrs. White was bumped off and replaced with Dr. Orchid, an adopted daughter of Mr. Boddy. Dr. Orchid is a scientist with a Ph.D. and a sinister background: she was expelled from her Swiss boarding school after a near-fatal poison daffodil incident.

Paramount’s 1985 film featured an all-star cast and three different endings. Boxed game-board spin-offs have included Star Wars Clue, Alfred Hitchcock Clue, The Simpsons Clue, and Golden Girls Clue. Today the game is thought to have sold more than 150 million units worldwide. Sadly, Anthony Pratt’s descendants have not shared that wealth. In 1953 he sold the foreign rights to Waddington for a mere 5000 pounds.

THE COMPANY

RYAN ARTZBERGER | MR. BODDY, MOTORIST, CHIEF OF POLICE

Ryan’s IRT credits include Oedipus, A Christmas Carol, Cyrano, Tuesdays with Morrie, The Diary of Anne Frank, Noises Off, Romeo and Juliet, The Three Musketeers, To Kill a Mockingbird, The Crucible, A Midsummer Night’s Dream, God of Carnage, Rabbit Hole, Iron Kisses, and Death of a Salesman. Ryan is the executive artistic director of the Indianapolis Shakespeare Company, where he has directed Hamlet and As You Like It and acted in eight shows. At the Phoenix Theatre he performed in How to Use a Knife. Regional credits include the Shakespeare Theatre Company in DC, the Studio Theatre, Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, the Lookingglass, and Great Lakes. Ryan graduated from Ohio University and Juilliard. “Love to Marita, Will, and Clara.”

EMILY BERMAN | MISS SCARLET

Emily is thrilled to be back after making her IRT debut in The Book Club Play. Regional credits include The Play That Goes Wrong at Florida Studio Theatre; Lost in Yonkers at Riverside Theatre; A Shayna Maidel at TimeLine Theatre, (Joseph Jefferson Award Nomination, 2019); Sense and Sensibility at Chicago Shakespeare and the Old Globe; The Bridges of Madison County at Marriott Theatre; and Miss Bennett: Christmas at Pemberley at Northlight Theatre. TV credits include Law & Order, Chicago Fire, and Chicago P.D. Voiceovers for Starbucks, Seat Geek, and many more. B.F.A. from the University of Michigan, based in NYC, and a proud member of Actors’ Equity. “Thanks to Peter and all my loved ones for constant support and inspiration.” emilygraceberman.com

EMJOY GAVINO | MRS. WHITE

Emjoy’s credits include the Guthrie Theatre, Steppenwolf Theatre, A Red Orchid Theatre, Writers Theatre, AboutFace Theatre, the Hypocrites, Second City, Victory Gardens Theatre, Court Theatre, Broadway Playhouse, Lookingglass Theatre, Northlight Theatre, the Neo-Futurists, Repertory Actors Theatre, ACT, Village Theatre, the Getty Villa, Milwaukee Repertory Theater, Playwrights’ Center, and Studio Theatre. Television: TheExorcist,MobDoctor,ChicagoFire/Med.Emjoy is a recipient of the inaugural 3Arts Make a Wave Grant, a 2020 3Arts awardee, Co-Artistic Director of the Gift Theatre, and the founder of the Chicago Inclusion Project.

DEVAN MATHIAS | COOK, TELEGRAM, BACKUP COP

Devan is excited to return to the IRT stage after appearing in Sense and Sensibility, Elephant & Piggie’s “We Are in a Play!,” and The Little Choo Choo That Thinks She Can. She is grateful to be part of the thriving arts community in Indianapolis as both an actor and a teaching artist. Credits include productions with the Phoenix Theatre Indianapolis, Actors Theatre of Indiana, Beef & Boards, and the Indianapolis Shakespeare Company, where she is a company member. Devan was recently seen in Heroes of the Fourth Turning with American Lives Theatre, and also in Silent Sky, the premiere production of Summit Performance Indianapolis, Indiana’s first and only woman-focused theatre company. Devan received her B.A. in Musical Theatre from Ball State University.

BEETHOVAN ODEN | PROFESSOR PLUM

Beethovan appeared at the IRT in Jackie and Me. His nationwide regional credits include The Bluest Eye, Intimate Apparel, The Mountaintop, “Master Harold” … and the Boys, The Fabulous Miss Marie, Argonautika, A Raisin in the Sun, Our Town (as the Stage Manager), and My Children! My Africa! (Ossie Davis Award for his portrayal of Thami). Off-Broadway he has worked with New Federal Theatre, Luna Stage, Metropolitan Playhouse, Playwright’s Horizons, and the Bushwick Starr. Beethovan has appeared on TV in national campaigns for Little Caesar’s, AT&T, Direct TV, and Visa Check Card, and has guest co-starred on Wu-Tang: An American Saga on Hulu, FBI: Most Wanted on CBS, The Last O.G., Shondaland’s upcoming Netflix series Inventing Anna, and Power Book II: Ghost on Starz.

ANDREA SAN MIGUEL | YVETTE

Andrea has performed at the IRT in The Book Club Play and James Still’s Appoggiatura. Calling Chicago home, Andrea has worked at Chicago Shakespeare Theater, Writers Theatre, Victory Gardens Theater, Northlight Theatre, and the Goodman. Regional credits include Mary Zimmerman’s The Notebooks of Leonardo da Vinci at the Shakespeare Theater Company and the Old Globe, As You Like It at the Guthrie Theater, Alias Grace at Cincinnati Playhouse, two seasons at American Players Theatre, and three seasons touring with Montana Shakespeare in the Parks. Andrea is represented by Paonessa Talent. IG: A_San_Miguel.andreasanmiguel.com

JOHN TAYLOR PHILIPS | WADSWORTH

John makes his IRT debut with Clue. A native Texan, John has performed in venues all over the country, including New York, Chicago, Milwaukee, Dallas, and Washington, DC. An elevenyear veteran of American Players Theatre in Wisconsin, he particularly enjoys performing the classics, and could not be more excited to share this new classic with our amazing audience. “It happened like this....”

ERIC SHARP | MR. GREEN

Eric is a Minneapolis-based actor. Regional credits include Vietgone, As You Like It, M. Butterfly (Guthrie Theater); Start Down (Alliance Theatre); Cambodian Rock Band, Hot Asian Doctor Husband, Two Mile Hollow (Theater Mu); Small Mouth Sounds, Hand to God, Is Edward Snowden Single? (Jungle Theater); The Miser (Theatre de la Jeune Lune); The Depth of the Ocean (MN/Toronto Fringe Festivals); Peter Pan, The Jungle Book (CTC). Eric directed the YouTube series The Remix with Theater Mu, and created You Shall Hear Me: Stories from Beyond. Other credits include Paula Vogel’s Bard at the Gate, and Bad News directed by Joanne Akalaitis. Eric’s voice work can be heard on Netflix, Hulu, HBO Max, and Penguin Random House Audio. WorkSharp.org

Jonathan Lynn based on the screenplay by written by additional material by Sandy Rustin Hunter Foster & Eric Price

THE COMPANY

KERRINGTON SHORTER | UNEXPECTED COP, BACKUP COP

Kerrington is an Indianapolis-based actor, writer, and musician who is proud to make his debut with the Indiana Repertory Theatre in Clue. As a recent graduate from Marian University with a Bachelor of Arts in Theatre, Kerrington has not only been seen on educational, community, and professional stages across Indianapolis, but also in commercials and local films across the Midwest region. He has most recently been seen on stage in Civic Theatre’s Rent, Marian University’s Pippin, Summit Performance’s Skeleton Crew, Indy Shakespeare Company’s Ricky 3—A Hip-Hop Shakespeare Richard III, Phoenix Theatre’s 172, and his original one-man hip-hop musical, The Loop.

CLAIRE WILCHER | MRS. PEACOCK

Claire has appeared with IRT in The Town Mouse and the Country Mouse, as well as worked as a swing for Noises Off! and A Christmas Carol. As a member of Indianapolis Shakespeare Company, she has showed up as Bottom in A Midsummer Night’s Dream and Phebe in As You Like It, and she is slated to direct the company’s production of Love’s Labor’s Lost this summer. Claire is also a professional Intimacy Director, having worked with more than 25 productions choreographing staged intimacy and advocating for actors’ safety and consent in moments of intimacy. She is trained through Intimacy Directors and Coordinators and works for the company as a teaching artist. More at clairewilcher.com

HENRY WORONICZ | COLONEL MUSTARD

At the IRT, Henry has acted in TuesdayswithMorrie,TheOriginalist,Red,AnIliad,A Midsummer Night’sDream,YoungLadyfromRwanda,KingLear, and many more; he has directed The Three Musketeers and Romeo and Juliet. Regional credits include Actors Theatre of Louisville, American Conservatory Theatre, American Players Theatre, Arden Theatre Company, the Shakespeare Theatre, and the Alabama, Illinois, New Jersey, Pennsylvania, and Utah Shakespeare festivals. He was seen on Broadway in Julius Caesar with Denzel Washington. Television credits include Seinfeld,Cheers,ThirdRockfromtheSun,StarTrek, and Law & Order. At the Oregon Shakespeare Festival, he was artistic director from 1991 to 1995. Henry was a visiting professor in the Department of Theatre at IU Bloomington from 2014 to 2017.

JONATHAN LYNN | SCREENPLAY

Jonathan Lynn is an English stage and film director, producer, writer, and actor. He is known for directing the comedy films Clue, Nuns on the Run, My Cousin Vinny, and The Whole Nine Yards. He co-created and co-wrote the television series Yes Minister.

SANDY RUSTIN | WRITER

Sandy Rustin’s stage adaptation of Clue is one of the most produced plays in America this season. Her original comedy The Cottage was recently produced off Broadway and is preparing for a Broadway opening this summer. Her adaptation of the Jerry Herman musical Dear World was produced by NYCity Center’s Encores! Series in March.

BENJAMIN HANNA | DIRECTOR

Ben is in his sixth year as associate artistic director at Indiana Repertory Theatre and will become the Margot Lacy Eccles Artistic Director in July. He has previously worked with Berkeley Repertory Theatre, Children’s Theatre Company, Penumbra Theatre, Seattle Children’s Theatre, Steppingstone Theatre, and the Bay Area Children’s Theatre. At the IRT, Ben has directed Fahrenheit451,TheBookClubPlay,TuesdayswithMorrie,ThisWonderfulLife,AChristmasCarol, TheLittleChoo-ChooThatThinksSheCan,Elephant&Piggie’s“WeAreinaPlay!,” and The Town MouseandtheCountryMouse. (see full bio on page 11)

CZERTON LIM | SCENIC DESIGNER

Czerton teaches design and other related topics as Associate Professor for the Department of Theatre & Dance at the State University of New York at Fredonia. He is extremely excited to work with IRT for the first time on Clue, a show that doesn’t stop moving. His work has been seen regionally in New York at Syracuse Stage, the Rev Theatre Company, Hangar Theatre Company; around the country at NYC, DC, Michigan, Georgia, Washington, to name a few; and internationally as far as Melbourne, Australia, and Abu Dhabi in the United Arab Emirates. A proud member of USA local 829, Czerton is originally from the Philippines. czlimdesign.com

IZUMI INABA | COSTUME DESIGNER

Izumi made her IRT debut with Fahrenheit 451. Off-Broadway: How to Defend Yourself (New York Theatre Workshop). Recent Chicago: Andy Warhol in Iran (Northlight Theatre), Fen (Court Theatre), Last Night and Night Before (Steppenwolf Theatre), School of Rock, the Musical (Paramount Theatre). Regional: The Chinese Lady (Bluebarn Theatre). Upcoming: The Origin Story (Cincinnati Playhouse in the Park), A Distinct Society (Writers Theatre). Awards and exhibitions: Michael Maggio Emerging Designer Awards (2014), Jeff Awards (2011, 2014), Black Theatre Alliance Awards (2020), Prague Quadrennial (2019). Izumi is a member of United Scenic Artists Local USA829. (photocourtesyofJoeMazza)

Jonathan Lynn based on the screenplay by written by additional material by Sandy Rustin Hunter Foster & Eric Price

THE COMPANY

JARED GOODING | LIGHTING DESIGNER

Based in Chicago, Jared made his IRT debut with TheReclamationofMadisonHemings. His credits include Writers Theater, Syracuse Stage, Pittsburg Public Theater, Asolo Repertory Theatre, Florentine Opera Company, Briston Riverside Theater, STAGES Theater, Florentine Opera Company, First Stage Theater, DePaul University, Milwaukee Repertory Theater, Victory Gardens, Timeline Theater, Madison Children’s Theater, University of Illinois Chicago Theatre, University of Indiana Northwest, Remy Bumppo Theater, Strawdog Theater, the Hypocrites, Definition Theater, Windy City Playhouse, Sideshow Theatre, Jackalope Theatre, First Floor Theater, About Face Theatre, MPAACT, and Pegasus Theatre. He was the lighting assistant for The Wiz Live on NBC, and associate designer for Lookingglass Theater’s tour of LookingglassAlice in Miami and Denver. He spends weekends as a professional DJ. goodingdesigns.com

TODD MACK REISCHMAN | SOUND DESIGNER

This is Todd’s 21st season as resident sound designer at IRT, and his 11th season with Indianapolis Shakespeare Company as sound designer/composer. His work has been heard at Syracuse Stage, Geva Theatre Center, San Diego Rep, St. Louis Black Rep, Actors Theatre of Louisville, and Lake Tahoe Shakespeare Festival, among others. Todd stays involved in a variety of music projects around town. After more than 25 years in professional audio he can both create and describe the ruckus.

LERALDO ANZALDUA | FIGHT DIRECTOR

Leraldo is thrilled to return as fight director to IRT, where he previously directed fights for Oedipus, SenseandSensibility, and You Can’t Take it With You. Other Indianapolis credits include Phoenix Theatre and Fonseca Theatre. Previous companies outside of Indiana include Alley Theatre, Houston Grand Opera, Colorado Shakespeare Festival, Lake Tahoe Shakespeare Festival, to name a few. He has been a motion capture performer and fight director with Sony Pictures in Tokyo, Japan, and for video games in Stockholm and Uppsala, Sweden. He received a Master’s Degree in Acting from the University of Houston. He is currently an Assistant Professor of Movement and Stage Combat with the Department of Theatre, Drama, & Contemporary Dance at Indiana University.

RICHARD J ROBERTS | DRAMATURG

This is Richard’s 33rd season with the IRT, and his 25th as resident dramaturg. He has also been a dramaturg for the New Harmony Project, Write Now, and the Hotchner Playwriting Festival. He has directed IRT productions of A Christmas Carol (four times), Bridge&Tunnel,TheNight Watcher,Neat,PrettyFire,TheCay,TheGiver,ThePowerofOne, and TwelfthNight. Other directing credits include Actors Theatre of Indiana (where he recently directed Violet), the Phoenix Theatre, Indianapolis Chamber Orchestra, Edyvean Repertory Theatre, Indianapolis Civic Theatre, Butler University, University of Indianapolis, Marion University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University and has been awarded a Creative Renewal Arts Fellowship from the Indianapolis Arts Council.

NATHAN GARRISON | STAGE MANAGER

This is Nathan’s 27th season at the IRT. He has also worked with Center Stage in Baltimore, Utah Shakespeare Festival, and Brown County Playhouse; and he is a company member with the Indianapolis Shakespeare Company.

BECKY ROEBER | ASSISTANT STAGE MANAGER

Becky is now an Indianapolis local and is a proud member of Actors’ Equity Association. This is their sixth season working at Indiana Repertory Theatre. They also serve as Production Manager for Summer Stock Stage and as Production Stage Manager for Summer Stock Stage’s young professionals branch, Eclipse. “I am proud to be a part of the Indianapolis theatre community and grateful to continue to produce theatre with the team at IRT.”

CLAIRE SIMON CSA | CASTING

Based in Chicago, Claire Simon CSA has worked with the IRT for the past 23 years on casting more than 40 productions, including Sense&Sensibility,MurderontheOrientExpress,Twelve AngryMen,YouCan’tTakeItWithYou,HolmesandWatson,NoisesOff,Appoggiatura, The CuriousIncidentoftheDogintheNight-Time, and many more. Other regional credits include Syracuse Stage, Asolo Theatre, Lyric Opera, Milwaukee Rep, and the Tony Award–winning MillionDollarQuartet. TV credits include Empire,Easy,Sense8,ChicagoFire,Chicago PD,Crisis,Betrayal,Detroit1-8-7, and Boss. Film credits include Divergent,Contagion, Unexpected,ManofSteel, and Save the Last Dance. Claire has won Artios Awards for casting the pilot of Empire and for Season 1 of Fox’s Prison Break.

Jonathan

written by additional material by Sandy Rustin Hunter Foster & Eric Price

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PLEASE CONSIDER BECOMING A REPERTORY SOCIETY MEMBER!

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ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2022 - FEBRUARY 22, 2023

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The Ovation Society is an exclusive program that recognizes donors that have made a legacy gift to the IRT. The IRT truly appreciates those individuals whose gift will ensure that the Theatre can continue to provide meaningful and inspirational experiences for future generations.

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IN HONOR OF REBECCA HUTTON & LEADERSHIP INDIANAPOLIS |

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IN MEMORY OF ROBERT EUGENE MORR | Bob Avery | Don & Susan Ulshafer

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IN HONOR OF JILL PANETTA & LEO BIANCHI | Rene Marra Snowden

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Nan Schulte & Matt Russell

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

500 Festival Inc.

Janet Allen & Joel Grynheim

Tracie L. Amundson

Anonymous

Malia Argüello

Tammara D. Porter Avant

Tasia Bade

Ball State University

Jeri Ballantine

Bar Bosco

Kit Barmann

Bazbeaux Pizza

Pat Bebee

Jason & Cecilia Beehler

Kathryn Beiser & Mick Domagala

Neelay Bhatt

Elizabeth Binford

The Block

Susie & Joel Blum

Barbara & Christopher Bodem*

Glen & Jeanne Bohannon*

Gretchen Boyd

Dan Bradburn & Jane Robison

Stacy Brake

Andrew Bridge

John & Catherine Bridge

Ray & Kathy Brinkmeyer

Brown County Music Center

Brian Brown

Sarah Browning

Buck Creek Winery

Amy Burke

Butler University

Don Caddy

The Capital Grille

Mary Ann Carter, Portrait Artist

Central Indiana Land Trust

Cliff Chapman

Doug & Brenda Chappell

Children’s Museum of Indianapolis

Climb Time Indy

ComedySportz

Conner Prairie

Jessica Contos

Sally Cook

Kate & Ben Copeland

Don & Dolly Craft

Crown Hill Cemetery

Daniel & Catherine Cunningham

Claire Dana & Chris Fretts

Dance Kaleidoscope

Gary Denney & Louise Bakker

Geneva Denney-Moore

Department of Parks & Recreation--Indianapolis

Michael Dinius & Jeannie Regan-Dinius

Laurie Dippold*

Jacob Durbin

Jane & Thomas Eckerle

Patricia Edwards

Eiteljorg Museum

Ellis Mechanical, Inc.

Ashley Elrod

Rebecca Engle

Faegre Drinker

Troy D. Farmer

Kevin Flynn

Forvis

Kim Fox

Dick & Brenda Freije

French Lick Springs Hotel

Tom & Jenny Froehle

Frost Brown Todd

Gallery Pastry Shop

Ashley & Andrea Garry

Dorothea & Philip Genetos

Ron & Kathy Gifford

Devon Ginn

Marianne Glick & Mike Woods

Mary Gospel

Lindsay & Greg Gotwald

Lindsay Gramlich

Amanda Nicole Greene

The Handlebar

Cody Harner

Mike & Judy Harrington

Steve Hazelbaker

Health and Hospital Corporation of Marion County

Heartland Film

Michael N. Heaton

Holt Hedrick

Douglas Hodge

Terri Holley

Sharon Hoog

Brenda Horn

Beverly Horton

Randy & Becky Horton

David Hudson

Lexi Hudson

Lori Hudson

Ice Miller LLP

Indiana Landmark

IRT Costume Shop

IRT Prop Shop

Indiana State Museum

Indianapolis Ballet

Indianapolis Chamber Orchestra

The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation

The Indianapolis Foundation, a CICF affiliate

Indianapolis Indians

Indianapolis Opera

Indianapolis Zoo

International Violin Competition of Indianapolis

Invoke Studio

Lauren James

William Jannetta

Jet Linx Aviation

Andrew & Brianna Johnson

Just Pop In

Katz, Sapper & Miller, LLP

Elisha Kemp

Kendra Scott

Anne Kennedy

KERAMIDA Inc.

Vicky Keramida

Linda L. Kirby

Joy Kleinmaier

Dawn Knipe

Dan & Sandy Kokinda

KPMG LLP

Kurt Vonnegut Museum And Library

Lacy Foundation

Jill & Peter Lacy

Sue Lang

Noelani Langille

Sarah & John Lechleiter

Lilly Endowment, Inc.

The MacKay Family

Michael R. & Sue Maine

Katrina Marichal

Mary Marz

Megan McKinney Cooper

Katie Meares

Julie Mervis

Nicole Meyers

Nick Mitchell

Jessica Monk

David & Leslie Morgan

Michael D. Moriarty

Carl Nelson & Loui Lord Nelson

Newfields

Sabra Northam

Jackie Nytes & Patrick O’Brien

Joel & Mary O’Brien

OneAmerica Financial Partners

Noel & Beth Outland

Oxford Financial Group, Ltd.

Pacers Sports & Entertainment

Rita Patel

Gregory & Robin Pemberton

Victoria Petersen Elia

Petite G Jewelers

Greg Petrowich

Dr. & Mrs. Lee Phipps

Phoenix Theatre

Plews Shadley Racher & Braun

PNC

Marcia Pollard

Jody Pope

Printing Partners

Naomi Racher

Peter Racher & Sarah Binford

Subha Raman

RCI

Corey Reason

Tommy Reddicks

Red’s Classic Barber Shop Co.

Sue & Bill Ringo

Roberts Camera

Megan Robertson

Rural Inn

Sahm’s Restaurant

Cody Santangelo

Taylor Schaffer

Julie Schilling

Mark & Gerri Shaffer

Darshan & Rebecca Shah

Ling Shanahan

David Sherrill

Sky Zone Indy South Trampoline Park

Slapfish

Jeff Slaven

Julie Slavens

Shelly & Jeremy Smith

The Michael L. Smith and Susan L. Smith Family Fund, a fund of Hamilton County Community Foundation

Olivia & Ryan Snyder

Joanne Sommers

Nelson Spade

Ed & Jane Stephenson

Marsha Stone

Jim & Cheryl Strain

Kay Swank-Herzog & Robert Herzog

Joe & Jill Tanner

Tastings—A Wine Experience

Catrina Tate

Taxman Brewing Company

Marla Kay Taylor

Gene & Mary Tempel

John & Deborah Thornburgh

Three Dog Bakery

Tinker Coffee Co. Roastery

Total Wine & More

Tim Trostle

John Turchi

Pamela S. Turner

Ray Vandivier

MaCharri Vorndran-Jones & Tony Jones

Amy Waggoner

Cheryl Gruber Waldman

Christen Wall & Jeramy Foltz

Darla Werner

Alan & Elizabeth Whaley

Wheel Fun Rentals

David P. Whitman & Donna L. Reynolds

Thomas Whittaker

Susan Brock Williams & Brian Williams

Cliff Williams

WISH-TV

Thomas Woo

Lateva Woolfork

Lynn M. Yates

Kelly Young

Rick & Sandra Zeckel

André Zhang Sonera

Joseph Zielinski & Rev. Bethany Lowery